Oh, no.
I think this video you're going to pose and render our character.
So for the character, as I said before, you need to select your rig and then control are to go to
the pose mode and then you can select any -- you want and then move the mesh that you want to move.
All right.
Let's go out before doing
the whole posing.
Well, I usually do is set up the scene I want.
So let's press shift a go to mesh and make it plain.
Let's skill it up like this.
And let's go a little more.
Select these edges over here and then proceed to extrude them up more like this, and then press these
two edges and then let's build them.
So let's roll beat below and then let's roll the mouse fill roll its up to increase the edges.
So I want something like this.
All right, let's go out of edit mode and let's right click and shade smooth.
Okay, now I have a very interesting background.
Now I need a camera for my rendering.
So as press shifts, I go to here and press on camera.
So now my camera is very small and for movie and you can see it right now over here.
It's over here.
The size of the camera doesn't matter.
Or you can exclude us.
It doesn't matter in the in the scene.
All right.
You just for the viewport.
Then I can do something like this and move it around or something like this.
I already changed the defaults HDTV.
It's an ATP.
And if I press zero on the number, as you can see, we have a wide, wide shot here.
I want like a more vertical shot.
So I change these values to ten, eight.
You know, first you got to go to here to outwit properties and it sends a resolution.
So 1080 P for the X axis and then 920 for the Y axis and then make sure that the aspect ratio as for
the X and Y or Z to one, otherwise you won't get the resolution you want then for changing the camera
on the rotation of the channel.
And on one way you can do this, it is to select the camera and then press or to rotate says on press
g to move it around.
But as you can see, this is very hard to control.
What I do.
I press and I go to a go to review and select this box over here camera to view this will enable me
to when I press zero on number and then when I pan around I actually move the camera, another setting
and usually first set is go to camera sitting over here and then change the focal length for the character.
I usually use something between 45 to 60 millimeter camera, so I'm going to put 60 over here.
I sometimes go even higher to something like 100, but for this case, I think 60 is a good months.
And now this setting I wanted to show you is these composition guides.
So if I enable the composition guide, as you can see, there are some I don't know if you see it in
the recording, but let me maybe maybe go up.
No, the most.
Let's go zooming in these dots over here.
There are some dots over here and some that's over here.
Some thoughts over here.
So what enable enabling?
Turns out the the camera will have some composition because I will have other records as well.
These are some very famous composition gods that you can use.
And if you want to know what was the meaning of these, you can just search them off.
So try and go a composition, search them and you get what they mean when I use a very simple thirds
composition.
Good.
So I'm going to zoom out over here and I want my character to I want to fit my cherry.
So inside this composition guy so wants to shoot to be in this box over here.
And let me zoom in.
So.
But disabling the camera's.
To you, you will disable the option to pan around with the camera.
But if you've got a camera view and what this one disable, if you zoom in, it will zoom the whole
scene to your camera.
So I just zoom in like this and now I see what is my camera right here?
And another thing you do, I go to you for display of my camera and turn that light, crank this option
off so I only see the camera and then all these distractions are gone.
All right.
So as I was saying, I'm using the composition thirds for my composition.
So I'm moving around, which you are not.
If enable these, I can move around with just panning where I want to shoot to be in this box and I
want the head to be in this box over here.
So there is a box for here and there's a box over here, and then the hands will be just over here.
All right.
So some simple stuff and let's move it around.
And I think.
I think this is a good spot right now.
So the head is between these two lines over here.
I don't know if you see these two lines and the shoes and the legs are between the bottom lines.
So this is a good source for me.
I don't want to accidentally move the camera so that if I do this accidentally and I lose all my compositional
right, so I just undo that.
I want to select my camera and then go to object properties and then I want to if I select on this look
Watson, I will look the location of this axis.
So I just press left mouse bottom and then go down like this to disable all this.
Now, if I move now, if I try to move around, I can't because I just looks every location I rotation
is killing off my camera.
All right, so let's just take this scope.
The view, not if you might also select the camera like this and press G.
As you can see, I can't move around so I can rotate it or move it around because I have locked it.
All right.
Now that we have set our camera and let's now try to go to pose.
Okay.
All right.
So let's what's I usually do when I go to posing is I make a new window right here.
And so by going here, I'm making the window.
And now by I'm in this window, I disable the overlays.
I disable all these tools over here because this is just a camera view for me.
All right, well, I can actually.
All right, let's press zero and then this.
You over here will act as my camera camera window.
All right?
And then I can adjust things over here and look around in this.
And then if I press control, is space on any of these windows, it will just maximize the windows control
space in this area.
And this is in this will maximize the window.
So by by just doing the
the pausing in this window and then seeing how we will affect in the in the render, let's enable the
lights over here and then let's just go to the in the render view over here and then see what we got
over here.
All right.
So let's actually give a material to our grounds over here.
Let's continue and give him material.
I want something dark for now.
We'll change it later.
And then with reference to 100% just for the viewing.
So just so our eyes doesn't get tired all the time by looking at it, that's all we can later come back
here and adjust the grounds.
And so let's get back to our posing and now let's go to actually shading mode so the computer doesn't
cry.
You might take a the performance just rigging is just posing is a lot.
It takes a lot of CPU and all that.
So let's go to possible control tab and I want to start with the head.
So by clicking on this board I can start and changing the head.
I want to rotate the head over here.
So I press r towards the head and then I'm just looking at the camera view and then this press r.
All right.
In this case with the head, the fury free a rotation works better to freely rotate any objects.
You just double tap on or so I'm just double tapping are fully free for free rotation.
Then I can adjust the head on once the head to face the camera, something like this.
All right.
And then this verse or two, it's just but at the neck a little bit.
I'm just with the simple ah, let's just give it an expression, something like this.
Let's zoom in in this and then let's see better.
Something like this, maybe a little rotation in the neck, and then let's go to the arm.
As I said in the last video for the arm will usually use the Ike or here this is Ike and Ike.
And with moving it, the whole arm will move with this.
Okay.
So I want to give it a simple, simple expression, like waving, like giving some wave and wave and
all that.
All right, so let's just move around and rotate degrees like this, rotate degrees like this, and
then move the hand or the piece of board like this.
All right.
And it's rotate the wrists.
Okay.
Let's just move it always a bit toward this to the left and then roots at the wrist to the right, maybe?
No, it was it was too much.
It was move it in the x axis like this and then rotated.
This may be moving a little bit further.
We can also move it in the Y axis a little bit forwards.
Yeah, the hand goes forward.
That's more natural.
This and also let's select this, this joint over here.
This is the O and and just let's be G, let's move it a little bit.
So we have some flexion of the hand over here.
So you can also tested in your hand.
This is kind of hard and then you're doing it for the first time to get adjustment.
Use your hand, use your body to see how the shapes look like when you do things right.
So I need to rotate the wrist a little bit right here.
And what I'm thinking, I need to adjust fingers as well.
So let's rotate it.
Something like this.
And this is quite good.
This is toward the camera right here.
So something like waving toward the camera.
And I think that overall looks good as well.
I'm looking at this area maybe by changing the and this one over here, maybe rotating, it will make
this area look better, maybe rotated like this.
Now it make a force.
So maybe rotated a little bit just so that our rotation.
Let's move it.
Let's test moving.
The moving of this will affect it.
All right, I'll move that a little bit forwards and.
I need to rotate the whole thing over here.
So it's rotated with double or rotated like this and then select the okay of the hand over here, this
one, and rotate this one as well and maybe move it a little bit.
Like this.
And for now, let's let's let's leave it as it is for now.
We can go back always and adjust things.
We can also do a little bit more rotation over here, maybe.
Yeah.
Or here.
That's better.
And then rotation.
It's rotational like this.
The moves, move it, which is a bit backwards.
Something like this.
Then let's let's go here and let's let's bring the fingers a little bit toward each other.
So we are rotate the fingers and you can also adjust the length of the fingers.
So let's just increase the length of this finger by pressing GM, move it up and let's rotate this finger
over here and get it closer.
And this one as well.
Let's get closer.
More then to Tom as well.
Now immediately looks more national security, even more national.
To look more even more national, let's select this joint or here on this.
Give it some really subtle events.
It shouldn't be too much.
Just sort of looking at the camera over you on the top window.
Just we sort of it shouldn't be too much.
Otherwise it wouldn't be just the times, right?
Just sort of flexion of these joints.
So it wouldn't be too much straits.
Of course, this is a stylized character.
Let's by doing small things like this, this will the final result will look lots more appealing.
Did I write?
Which is some really small selection?
Now let's just select the other hand the IK of the left hand and then just press G to move it down.
And what I'm going to do.
I see.
I'm going to.
Yet was rerouted to restart.
Move it here.
Something like this.
What is it around?
And.
I want to get it closer to the to the shirts and the pants.
Something like this, I think, works.
Yeah, something like this.
And then what we can do, we can select these joints.
And because we are walking on the hand, we can go to item two recliners and disable anything else that
we're not tweaking right now.
So just fingers.
So now we just have fingers.
Now it's a lot easier to see.
Let's select these.
Johns and moves them like this.
So there's some sort of disjoint for the index finger and move it up a little bit.
Something like this that's like this joint or here and rotated rates are moving closer to the other
finger.
And be careful to not clip between objects like this.
Just place press g and move it out.
Look this.
All right, now let's do the same thing for the other two fingers as parents are, and then this press
g to be out.
So we are making some we are making some little adjustments to the fingers, although like this finger
isn't going to be seen in the render.
Well, let's just move it a little bit.
It would be fine when we rotate around that character.
And then let's just select the whole index of this finger and the move it closer to the other finger.
And do the same thing for the other finger.
Now what's human?
Do the same thing with the other hand we did.
We want a little bit more flexion for or the bending for the joints over here to look more natural.
So first, I think this in this with the is too close.
So let's just without holds like this and.
Yeah.
This this one as well needs to move it quite a bit bit or move it or a little bit down.
I want to move it always a bit down.
We are.
Now it start with the index finger and select the second joint and then press double or to.
Flex and the band did the same thing for this one.
And do the same thing for this one.
Then there's just select the whole index and press are to move it outside.
Not cleaving to the objects.
So moving outside, not sleeping with objects like this
and this.
Me removing an object with or 400 or two C, so that's why we need to always
optimize our work.
But I wanted to show you how two words expands the face and the eyes.
So that's why I applied the subdivision rules.
We could have if we just went with the materials, it would have just had a lot less geometry.
I want to listen to this one.
This is the POM control.
So it will control the area around this area and especially the fourth and fifth fingers.
This press g to move it over.
It's a bit outside maybe, and it's immediately looking better over here.
But I think this hand, I think, was rotated.
The poem a little bit.
Not to a degree that it would be deform too much, but make it like this.
So everything is kind of in a better form.
And also want to move from downwards a bit to make it closer to the other.
Fingers, then maybe move it to Tom or here of the outside.
All right.
So let's.
That's what we know.
It's a bit outside.
These fingers are.
Course.
And the bills and the.
Tom is.
Well, it's a bit.
Detacheds.
Now I'm selecting the turd joints to make song and things like this.
Now who's better?
The friendly means more as well, so you can get some shapes over here for the knuckles.
Eidsvold will be great.
But
will you put a lot of time into doing the posing?
Well, I think the simple I think I have to be happy with just this one.
So it wouldn't take too much to pose this.
One.
To this one hand.
It gets tricky when you're doing some certain band things and all that.
All right.
Now, as for the hand, well, let's see.
I don't think I want to move the body.
Let's do that now.
Let's see where we get source.
Enable the disabled the fingers and enable the torso.
Tweak the torso itself over here.
And now let's select this phone over here and then let's change it.
Let's do some exaggerated like this to see to what degree we can go and then we can do something like
this.
Well, it's a bit bending.
May help in this situation.
Like give it some more expression.
I need to do it.
Subtle.
You can also move it.
Maybe.
Maybe Ritchie, move it forward, like.
Or let it be the torso.
Oh, no, I think that's ideal.
That's selected.
This one over here, the chest lawn.
You can make it to bend over, bends forward or bend backwards.
I don't think it works in this case.
We can also maybe know it doesn't work in this case.
All right, so just.
Let's just.
Stick to the simple torso.
Or we can do something crazy like this.
Maybe, huh?
Maybe.
You know, you might walk some.
Something like this.
It doesn't look too symmetrical.
Like this site is up for this slide down for something like this.
Yeah.
Like this.
But as you can see, the bolts over here, it has deformed by moving boom.
So.
So I'm gonna delete the armature of these belts over here.
All right.
And then it's going to reset it.
Hmm.
Or maybe let's go back.
Let's go back to undo.
So the torso is now in the.
In the neutral position.
All right.
Now, let's go out of the puzzle object or go to the bolt, and now let's delete the omission.
Now it has the right shape.
Let's press alt p clear pants and keep trying to keep the transformation.
This press control is Q always, always.
And then what we can do, as I showed you in the last video, press the object first.
Press the start objects.
Press your armature and then control.
Start to go to pose more press.
Select your own.
In this case, this is the phone.
And this is the right one for me.
And then control P ends and hand it to the pawn now.
And I'll move this one over here.
The.
The bolts should move as well, and it does in this case.
But I think I painted it into the wrong one maybe.
Let's let's know it's asteroid.
So it doesn't move.
It doesn't move with this one.
And it might just work or not.
All right.
I painted it into the wrong form, so let's do it all again.
This press all up to your parents.
Now, if you could now select the Read Control tab and then with this issue, the move.
That's right.
So let's select this one over here.
This one, then we want it to move and we want it to rotate like this.
And as you can see now, the ball doesn't move that spans.
It's just this one control P and then born and now let's see what we have here.
So another problem is that it doesn't move accordingly with the pants.
All right.
So.
Right.
We can also not move.
That's warm.
We can just move the torso bone, like rotate it like this baby.
And it also makes the head move towards an angle.
And it might be it might be even a better option.
So it's just let's just do it all over again.
Call your parents, select the armature and this form, and then control P and then boom.
Now, let's see.
Just doing this will do the trick.
So go.
Rotation of the heat up the torso.
It will give a lot of more interest to the character.
When you break symmetry, it will make the character more interesting.
So always after doing your work, after doing all the symmetrical work, try to break the symmetry.
We're going to discuss about this more in the sculpting section.
But in every level, every way you make your character in the last stages, you need to break the symmetry
to make it more interesting.
So I think that's better.
And maybe we need more adjustments for the hands over here.
Boards are notes.
I'm happy with this.
Let's establish the torso, enable the fingers, and let's press this.
Joints or joints over here.
That's just around.
To get a better angle.
Like this.
All right.
Now let's go through the leg and see what we can do with the leg.
So let's enabled the leg in case.
All right.
And now let's.
Let's see what we can do with this bone over here.
Nope.
I think the idea was select.
Okay, we're here.
This is the.
Okay, and let's move it around and see what we get over there in this area.
So let's just rotated.
Maybe be no, let's first move it with G.
So let's just move it.
Ritchie, over here.
And over here, maybe.
Let's move backward.
Right.
Yep.
I like that.
So G and Y of his G and y to me would also be bad.
You shouldn't be too much like this.
More.
This must be enough.
And we can.
What we can do is that we can rotate this with our toward the ground.
Oh, it's a bit or actually toward a fault like this.
So it would be warm like this.
So you would.
Like Seems that he's walking.
So it seems that he's in the in the in the in the walking cycle.
Like this.
Let's go to the render mode and see what we see.
See we get.
Something like this.
I maybe rotated a little bit to the left.
I know it's the right.
Let's select this one over here.
And with this one, we can adjust the forefoot.
It's making a lot of changes.
I think it's because we change the way it's paints over here.
That's when I was showing you how to change the way it spins.
So let's not use a phone over the I was to use this phone to choose the four or four foot, always a
bit.
And bring it down like this.
Like something like this?
Yeah.
That's what I wanted.
A little bit of information on the other problem here.
Hmm.
So what we can do is go to edit more of this shoe.
Edit more of the sure safe verse with control.
Is this because it is one of those shoes?
Then I want to select these edges.
This is just.
These faces seem to have the wrong material.
It seems.
So let's go to material and select this material on and sign.
Oh, where I.
This height, this front face with each height, this one all edge.
And then let's assign these faces to this one and this one.
We can to the better way is to go to site view and enable x ray with all that and then just select the
whole front food and then assign it to this material over here.
And now all the faces have the same material in the front.
Now.
Yeah, we fixed the problem over here.
So
let's see what else we can do.
So we go out of edit mode.
It's just adjusted.
When we go to edit mode, the object goes to the to the first position before the armature.
So if you want to have your character in this pose, you need to apply the armature.
When you go to edit mode.
So now that's good for the left one.
But should we do anything for the right foot?
So select the armature.
Go to pose mode.
And let's.
This may be rotated to the right.
So like this, the four foot one.
Hollywood says it doesn't live, actually.
Hmm.
Then I'm not gonna use that.
Let's see how we can change the law here.
No, I'm not going to use that.
Let's see.
What.
What can I do with this phone or here that I can use the back foot?
Back of the foot.
So if I press.
Or they can bring the food like this.
This is actually good.
This actually seems to help us to give this idea that this character in is in the cycle of walking and
maybe he's walking towards someone.
So it will give it a lots more story.
And again, the shapes are not symmetrical, then it's not.
The right leg is bent forward like this, and the left right leg is a straight.
So both on the straight.
And it gives a lot more appealing to the look of our character.
All right.
Let's bring up the grounds over here.
As I said, we need to make sure that the foot is actually on the ground.
So let's go to the pause mode, select the ground and then move it up.
Like this.
So you should go.
Inside of the ground saw the other shoe.
Part of it is inside the ground.
But this is not.
This means that the back of the fruits of this foot is not in the right direction.
So it's like the idea of the foot.
GZ To bring it down, the school actually changed the camera to the beneath the ground, the press.
Jesus to bring it a little bit toward the ground.
Something like this.
Now we can see the shoe and now is the good place to place the shoe.
Or here, maybe it's too much of Swiss cheese and bring it up a little bit.
Still the game and now things go.
A path of the shoe is on the ground.
It means that it is touching the ground over here.
So it's not on the air.
So let's see.
Okay.
So I think it's good we can play around also with maybe with the neck.
So this disabled the legs and go for the torso, maybe.
The torso here.
Yeah.
And with this one over here, we can change.
The neck and I want it to make it toward the camera.
So it's facing the camera over here.
So like it's waving its arms.
Maybe I maybe a little bit bending towards the left.
We'll give it more character as well.
They get a little bit bent toward the left, but.
You should actually.
I should actually face the camera.
We can do that with selecting the eyes.
We're here and rotated, Mary.
No, it doesn't work, it seems.
Let's separate eyes, then separate the eyes and then rotate them separately.
O p and then they are separated.
Right click.
So the origins of geometry for both objects.
And.
Select both objects or no.
I just objects and then go here to transform pivots points and select the individual origin and then
press r to rotate and rotate the eyes.
Like this in the eyes needs more.
Needs more reflection.
So I'm just going to decrease the cause of the roughness all the way down over here.
Something like this.
Right.
So you have some reflection on the eye.
It looks much more bitter.
So it's in the face to see if we can see any problems with the rigging.
Even with the modeling, this is what we are going to present, what we are going to show other people.
So this is important.
So school here, maybe maybe we're here.
Maybe the hands need to be a little bit inside, huh?
So let's go to the polls again and then let's enable the fingers.
And let's move it a little bit.
Toward the right sides.
So something like this.
Right.
And also, this finger looks doesn't look good.
This finger over here, it needs to rotate to the right.
It's good.
Let's route that downward to.
That looks good.
And the other fingers still look.
Okay, so let's move around again.
This finger.
I think we're going to leave it as that.
That is looking good enough to me.
This is our.
Buckle.
But the geometry here is not good here.
We have very jagged areas over here showing the.
Showing how little risk it is.
We can go here and maybe increase the subdivision level and know it's fixed.
So.
Right.
Let's move around again.
Let's press control.
Is space to go to this window?
They move around and look for any problems you find.
I think this is quite good right now.
Maybe the teeth area.
All right.
That's good for now, I think.
Let's press control s to save it.
Now let's go to cycles and this C in cycles.
How does it look right it sounds based on denies the news optics and let's set 256 for our renderer
we can set the viewport to the highest amounts.
Now let's see how it looks in cycles.
Of course, we haven't done the lighting, lighting and all that.
We're going to do that in the next video.
But for now, I think this is a good pause right now, and this will do for our first case, a simple
character.
All right, in the next with you, you're going to make some lighting and do some lighting.
We are going to make the volume.
I think we are.
I'm going to show you how to make volume, how to make particles insights, one that gets a good look
in your render and do some good lighting and all that.
So I hope this video is helpful to you.
The whole process of pausing can be time consuming, but you need to have patience, maybe put on some
good music and then think about a good pause or search on the Internet for a good pause that you can
use to showcase your work.
So that's it until next with you.
Goodbye.